Evangelical town church (Schorndorf)
The late Gothic Schorndorf town church rises in the center of the city, west of the famous historical market square, and with its 66 meter high tower forms a dominant eye-catcher. In the old town it appears as an important point of reference and is one of the most important sights of the city.
The construction of the church, financed by indulgences , began on Easter in 1477. The parish of the town church has been Protestant since 1534, shortly after the Reformation . In the great city fire in 1634, almost the entire city was destroyed, including a large part of the church. The nave and the church tower burned down; only the choir vaults held up. The rebuilding of the church lasted until 1660, about twenty-five years. Due to frequent construction, restoration and renewal measures in the years up to the present day, the church shows a large number of different architectural influences. The oldest elements are the figures of Saints Sebastian and Rochus and the remains of a mural on the west wall of the southern main portal and the root Jesse representation in the Marienchor.
About history
In the 6th century the Duchy of Alemannia was Christianized. At that time, the new Franconian gentlemen granted the Winterbach district chiefs their own church law: they were entitled to decide on church building and the appointment of clergy. This is how the first church buildings were built in Winterbach and in the western area of Schorndorf “Uff dem Sand”. The Schorndorfer Church was a branch of the Winterbach mother community until the 13th century. Schorndorf has been attested as an independent parish since 1275. By 1359 at the latest, Schorndorf was the mother church of the parishes in Winterbach, Weiler and Geradstetten . In 1534, with the introduction of the Reformation in Württemberg, the Schorndorf parish also became Protestant .
Building history
The Franconian wooden church was in the 12./13. Century replaced by a stone building in the style of the Staufer fortified church . This church was about 25 by 15 meters. In the 15th century the decision was made to build a new building. For this purpose, an indulgence was announced in 1465; another indulgence from 1478 is said to have financed the tower. In 1477 construction of the three-aisled hall church in the late Gothic style could begin.
The Stuttgart builder Aberlin Jörg began building the church on the west side. Around 1488 the walls of the nave up to the north portal were completed. After Jörg's death, the Urach master builder Peter von Koblenz continued the work. Around 1500 the nave with the internal dimensions of about 19 by 35 meters, the two rows of columns supporting the roof and the bell tower were completed. The Marienkapelle was built by Jakob von Urach around 1502. The rib vault with the root of Jesse can also be traced back to Jakob von Urach, who probably used a design by Anton Pilgram for it. The high choir was started by Jakob von Urach, but then continued (around 1530) by the Schorndorf stonemason Thomas Busch.
Around 1560 the high choir was essentially completed. Jörg Busch, the son of Thomas Busch, designed the gargoyles , the finial crowns and the ambulatory. In 1579 the Allgäu master stonemason, Caspar Schnitzer, added the twin spiral staircase to the ship, which enabled access to the galleries from the church square.
On November 24, 1634, Schorndorf was set on fire by imperial troops. Almost the entire city burned down at that time. The church also caught fire; the burning roof and the pillars fell into the ship. The high and Marienchor as well as the portal vestibules remained. An emergency church was then set up in the choir. After a large collection campaign that began in 1642, the nave was also rebuilt. The Ulm master builder Joseph Furttenbach converted the originally three-aisled hall church into a pillar-free preaching hall church as a transverse church by 1660 . The pulpit came to the north wall, the altar remained in its place in front of the choir. The reason for this restructuring was the changed understanding of worship since the Reformation, which now focused on the sermon and no longer on the altar of the mass sacrifice in Catholic practice. The roof structure of the ship with its very stable hanging structure supports the coffered ceiling spanning the entire room over the clear width of a good 19 meters, made by Ulm foremen Lienhardt (Leonhard) and Martin Buchmüller. In 1709 the pulpit was moved back to the choir arch. Another renovation took place in 1767 by Johann Friedrich Weyhing . He renewed the galleries , now in very curved shapes. The pulpit now moved back to the north side of the nave.
Various restoration and renovation work was carried out in the 19th century, for example on buttresses and on the eaves of the ambulatory.
From 1902 a thorough exterior and interior renovation was carried out by the Stuttgart building officer Heinrich Dolmetsch and, after his death in 1908, by his son Theodor Dolmetsch. Inside, the transverse hall concept was consistently implemented: the font and altar were now also moved to the north wall. A singers' platform was placed under the choir arch, which had been transformed into a basket arch, which significantly obstructed the view into the choir; the gallery management has been greatly simplified. The two upper floors of the tower were rebuilt in neo-Gothic style and the stair tower was also renewed.
The last major redesign in 1958, for which Professor Paul Heim was responsible, again opted for the longitudinal orientation of the church. The pulpit was returned to the place from 1709, the altar under the choir arch. The baptismal font found its place in front of the now open Marienkapelle, which had previously been walled up and used as a sacristy. The new organ was placed on the west gallery. In this respect, the original room concept was complied with; the worshipers have a clear view of the high choir again. The only disadvantage of this room layout is the considerable distances in the worship room.
Exterior of the church
South side
On the south side is the sacristy equipped with pointed arch windows . It was once used as an early mass chapel. It connects to the tower with a pent roof.
The tower floor is initially built on a four-story square floor plan. This is followed by a two-storey octagonal section, above which the recessed storey of the former tower-keeper's apartment is located above the gallery. The steep octagonal helmet, like the parts above the square tower, goes back to the renovation in 1902 and 1903.
Since then, the total height of the tower has been 63 meters up to the final ball, with the cock even 66 meters.
The so-called “Bruttörle” is located on the south side of the church, to the left of the stair tower. Its vestibule has a ribbed vault . The bridal portal is adorned at the top left with a depiction of a wise and a foolish virgin ( Matthew 25 : 1–13 LUT ), which was created in 1904 by Karl Lindenberger and Friedrich Rühle.
The south portal is next to the “Bruttörle”. A shared, over-high structure - the so-called Schopf - encompasses both the vestibule and the first emergency chapel . The masonry of the Schopf includes the neighboring buttresses. The vestibule has a ribbed vault and is equipped with three sandstone figures: Saint Sebastian is depicted on the left, Saint Rochus on the right. Both plague saints turn to the figure above them that represents God the Father. A few remains of a mural of the Assumption of Mary can be seen on the west wall of the vestibule . On the south wall of the Schopf there is a painted sundial that dates from 1660 and was renewed in 1767 and 1908.
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The sculpture "Mother with Child" to the right of the south portal comes from the Strümpfelbach artist Prof. Fritz Nuss . This second casting - the original is in Strümpfelbach - was installed in 1988. The plaque attached to the city church wall interprets the sculpture with the help of a psalm quote (Psalm 131, 2): "My soul has become calm and calm like a small child with its mother".
The second insert chapel is closed off with a pent roof halfway up the wall . The laterally rounded staircase contains the remarkable twin spiral staircase from 1579. Two dolphins stand out in the gable ; however, they are copies. In Christian art, dolphins symbolize Christ who guides the souls of the deceased.
West side
There is an inscription on the right side of the west front of the church; the year 1477 reads: “ob (iit) elisabeth schrinerin”. This inscription commemorates the founder of the sacrament house of the church, who died in 1477 - the year construction began. It is the oldest date that can be read on the church.
Otherwise, the west wall of the church is rather sparse, but due to its massive appearance it is still impressive. A rose window with fish bubble tracery catches the eye above the double-gate portal . Since 1961 it has had a glass painting of three trumpet-blowing angels by Professor Werner Oberle from Schorndorf.
The two arched windows next to the portal go back to the church renovation in 1909.
North side
The north side of the church is architecturally much more interesting. Three mighty buttresses, between which two high windows break through the wall surface, structure the right part of the north facade. This is followed by a total of three inset chapels halfway up the wall. Together with the portal vestibule, they are spanned by a shared monopitch roof. From the net vault of the portal vestibule, only a few beginnings of ribs covered with branches are recognizable. On the left side above the portal the figure of a man with a shield can be seen in an over-twisted position, next to it an incomplete reptile. A scaled four-legged monster is shown on the right.
The north portal shows two remarkable figures: on the right, Saint Catherine , who, according to legend, was executed with a knife-tipped wheel (the once-existing wheel is now missing), and on the left, Saint Barbara , who was imprisoned in a tower by her father. A chalice can be seen in the tower; this is explained by the fact that Barbara was considered the patron saint of the altar sacrament . Both figures are copies; the originals are in the Marienkapelle inside the church.
The Marienkapelle is connected to the north wall of the nave, slightly recessed. Their rounding is not fully developed; it extends with the third buttress into the wall of the high choir. Four three-axis pointed arch tracery windows subdivide the outer wall. On the intermediate pillar there is a sandstone carving of an enthroned Mother of God with a child; the original of this supplemented copy is placed in the Marienkapelle.
Choir page
The high choir is divided into about 2/3 of the total height by a circulation. Three-storey buttresses structure the walls, in which there are four-axis windows below and three-axis windows above. The tracery of these windows has been partially renewed. The center rods of the lower side windows contribute outside and inside Statue canopies . On the south-east side of the choir you can see the stone carvings of St. George with the dragon, including an inscription referring to Burgvogt Georg Bihler, who donated 100 guilders in 1641 for the reconstruction of the church.
Steeple
A rectangular door forms the entrance to the stair tower, which leads up to the level of the fourth floor of the tower with a stone spiral staircase. A connecting balcony leads to the actual tower and the old, no longer used staircase.
The ascent past the bells on the steep steel spiral staircase leads past the old mechanical clock to the stone tower walkway, which offers a wonderful view over the city.
Bells
The town church has seven bells. The second largest bell (113.5 cm) is the oldest: it was cast by Conrad and Claude Rosier in 1652. It is decorated with leaves, ornaments and angel heads and bears the inscription:
- "When in the year this place was cremated by war, it remained in the Fuerstlich Castle at the undern Thor a little house, only standing this church without sound and scarf with the greatest sadness in the Ramsthal MDCLII through generosity, this glok was new to berait the other time by Fewer let it she calls out loudly “.
The rose bell is tuned to tone f 1 .
Three more bells were cast in 1949 to replace the bells delivered in 1942 for armament purposes; they were melted down. The bells come from the Heinrich Kurtz bell foundry. The apostle symbols on these bells go back to the sculptor Helmuth Uhrig .
The largest (126.7 cm, of 1 , 1990 kg) bears the inscription "All authority in heaven and on earth has been given to me" and "See, I am with you all days until the end of the world" ( Matthew 28:20 LUT ). The Luke bell (96.9 cm, as 1 ) received the biblical phrase "Glory to God in the highest and peace on earth". ( Lukas 2,14 LUT ) The Markus bell (86.9 cm, b 1 ) carries the words “Let the little children come to me” as a baptismal bell. ( Matthew 19:14 LUT in the version of the Luther Bible 1912)
There are three new bells: the largest bell “Gloriosa” weighs 5,100 kilograms; In addition to Christian symbols, it also bears the coats of arms of the Schorndorf twin cities. The somewhat smaller “Dominica” Sunday bell weighs 3,617 kilograms and the smallest “Schied” or “Johannes bell” weighs 366 kilograms. The first seven-part chime and the consecration of the bells took place during a festive service on Sunday, July 10, 2005.
Interior of the church
Longhouse
The size of the room (the outside dimensions of the church are about 60 × 25 meters) is particularly impressive because of the missing aisles, which were destroyed in the city fire of 1634, so that today the entire interior is spanned by the paneled ceiling from 1660. The galleries were built in their current form in 1959, using old parts. They divide the room upwards, but of course also cut through the old insert or side chapels.
To the left or west of the “Bruttörle” entrance next to the old choir stalls (created by Michael Hausch and Heinrich Kölle in 1660) is the first emergency chapel. The spiral staircase built in 1959 gave it the character of a staircase. The second insert chapel to the west of the southern main entrance is closed at the top by a ribbed vault. The twin spiral staircase from 1579 is only accessible from the gallery. It consists of two counter-rotating snails and was added to create direct access from the outside to the extended west gallery. Inscriptions in the stairwell wall refer to two renovations in 1716 and 1909. At the top of the staircase are two of the original dolphins, which were renewed in 1909.
On the opposite north side of the church there are three insert chapels; the western one, like the one opposite, has a ribbed vault with two keystones (Man of Sorrows and Mother of God). On the east side there is a tomb for Euphrosina von Rueff geb. Hirschmann (1646). The second insert chapel on the north side also has a ribbed vault; There are no keystones. On the west side of the east side chapel is the tomb for Christoph von Rueff (1656) and his wife Susanna Regina nee. Hillinger (1655).
In the east of these three north wall side chapels, a window designed by Ada Isensee in 2006 with a theological interpretation of the play " Jedermann " by Hugo von Hofmannsthal has been installed above the door . The artist associated the basic motifs of the medieval mystery play with the biblical image of Moses in front of the burning bush .
The rose window in the west wall shows several angels playing music above the organ front, designed in 1961 by Schorndorf artist Werner Oberle (1912–1990).
Lady Chapel
The Marienkapelle is used today as a baptistery . Accordingly, the design of the four windows, created in 1961 by the Stuttgart glass painter Adolf Valentin Saile and donated by women's groups in the community: in addition to the three ornamental windows (rebirth of Christians from water and spirit), the east window represents the "original date" of Israel, the passage of the Israelites through the Red Sea. The font from 1660 contains a bronze insert by Ulrich Henn (1959).
The vaulted ceiling with the Jesse root is special: reticulated vaults with ribs form an ornament made of interconnected rings that carry 27 half-figures. They represent the family tree of Jesus, which begins with Isai (= Jesse). The root rises from the lying Isai, which leads via David to Mary with the baby Jesus. The individual figures have name ribbons.
The original statues of the north facade were placed on the north wall. The figure of Maria in particular is severely mutilated.
pulpit
The splendidly carved pulpit from 1660 hangs next to the Marienkapelle. It was made by the cabinet maker Andreas Stellmacher and painted by the Gmünd painter Friedrich Ulmer.
The octagonal pulpit, which is between the late Renaissance and Baroque in style , shows the four evangelists with their symbols, from left to right Matthew , Mark , Luke and John , and is decorated with angel heads. Angel heads also adorn the magnificent sound cover ; its underside shows a dove as a symbol of the Holy Spirit . On the sound cover the statue of Christ enthroned, who appears in that exposed place as the actual Lord of the Church. The pulpit also has two panels now hanging separately from the parapet of the pulpit access; they are located on the right side of the choir arch on the east wall of the nave.
Choir
The bronze crucifix in the choir arch was made by Ulrich Henn in 1960. The high choir has an impressive star-net vault; A total of eight keystones of different sizes crown the artfully running lines. Pictured from west to east are Martin Luther , Johannes Calvin , Anna selbdritt , a cleric with a book (presumably one of the church saints), a man of sorrows with a bundle of rods and scourge, a cleric with a palm tree and book (church saint), Mary with the baby Jesus holding the apple and two angels holding a crown over them and another cleric with a palm tree and a book. The first two images (Luther and Calvin) were only added in 1908 and have replaced the images of Saint Catherine and a church saint with palm fronds and a book that are now hanging in the entrance area of the choir.
The north side of the choir is characterized by nine epitaphs and tombs. There is another life-size epitaph on the south side. They remind of the following people from left to right:
- Pastor Andreas Eyb (1595) and his wife Anna geb. Voltz (1597)
- Mayor Michael Hirschmann (1634)
- Wilhelm Palm (1580) and his wife Susanna geb. Duration (1576)
- Christoph Andreas Freiherr von Bernerdin zu Plüderhausen (1670) (The fourth epitaph hangs over the third)
- Specialized M. Thomas Hopfer (1678)
- Mayor Melchior Breitner (1611) and his wife Agatha geb. Star Iron (1611)
- Dean M. Daniel Friedrich Hauff (1817)
- Specialist Johann Philipp Friedrich Maier (1805)
- Pastor M. Johann Christian Maier, the son of Johann Philipp Friedrich Maiers (1806)
- Obervogt Burghardt Stickel from Leonberg (1613) and his wife Margarethe geb. Bihler (1621) (This epitaph hangs on the south side)
On the east side of the choir are the old altar barriers , which originally surrounded the main altar in a rectangular shape and were open to the east and west. They were made by Christian Ungerbühl in 1738 and are decorated with four wooden statuettes . In today's arrangement, from left to right, there are Moses , John the Baptist , Simeon and Christ. The fine carving and the ornate inlays are remarkable .
On the south side there are individual stalls, in whose desk part the electrical control systems are now built. A. Schahl suspects that these stalls are a former confessional .
Choir window
The colored choir windows from 1889 were fitted into the existing tracery under Heinrich Dolmetsch . They come from the Bavarian court glass painting Gustav van Treeck and show, from left to right, the raising of Jairus ' daughter , the Holy Communion and the burial of Jesus. The scenes take place under a canopy-like structure that takes up Gothic architectural elements. All three windows were donated by Schorndorf citizens whose names are written on the windows. The representation of the Last Supper in the middle window appears in 1901 as a duplicate in the lower part of the choir window of the Urach Amandus Church .
In 1999, the Schorndorf artist Alfred Seidel (1913–2003) designed new windows in the upper storey of the choir, the triptych “Faith, Love, Hope”: on the left, the human being in a strange foreign land; Middle: Moses, cross, resurrection; right: David, the praises singer. They take up motifs from the Bible, but bring them together with experiences of the present. These windows were donated by a Schorndorf company.
sacristy
The sacristy , together with its anteroom and the rest of the tower basement, was originally an early mess chapel , which was later used as a bell room . After the renovation in 1958, which restored the Marienkapelle, which was previously used as a sacristy, for worship purposes, the bell room has become a sacristy. Two console busts with difficult-to-interpret depictions of two men stand out. The sacramental utensils are also kept in the sacristy. See also: Sacramental Devices .
Organs
The Tübingen historian and professor of the Greek language Martin Crusius (1524–1607) reports on the first organ in his Annales Suevici : “The organ itself was made in 1516; it has 15 stops with trumpets, birds, pedal and tremulants ”. The founder of the instrument was the Schorndorfer Vogt Ulrich Gaisberg. After its completion, the Schorndorf organ was larger and more handsome than the organs built earlier in Stuttgart and Tübingen . The organ was also damaged in the town fire in 1634. It could be saved, but was only poorly repaired again in 1660. It was thoroughly rebuilt and enlarged to 30 registers from 1706–1709.
As part of the renovation of the main church in 1767/1768, the two Faurndauer organ makers Johann Georg Späth and his son Johann David Späth moved the organ from the choir to the west gallery and expanded it by 5 stops. In 1842, Eberhard Friedrich Walcker from Ludwigsburg , the most renowned organ maker in the country at the time , installed a new organ with 33 stops on two manuals and a pedal. In 1909, against the advice of the music experts, this organ was moved from the west gallery to the choir, which was not only acoustically unfavorable, but also completely destroyed the original room concept. In the course of the renovation of the church carried out in 1958, not only was the room restored to its original axis, but the organ was also given its original place on the west gallery. Re-using the old organ was out of the question, and so the Schorndorf town church received a new main organ in 1961, which architecturally and musically corresponded to the conditions of the room and the new church music requirements.
Main organ
The present organ from 1961/1962 was again built by the Walcker company as Opus 4441. The disposition and the scales come from KMD Helmut Bornefeld (Heidenheim). In 2014 the instrument was restored by the Mühleisen Organ Building Workshop , Leonberg. The slider chests -instrument has today 46 registers on three manuals and pedal . The game action is mechanical, the coupling and stop action is electromechanical. Professor Paul Heim was responsible for the prospectus design.
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The registers marked with (S) are on a solo tray of the pedal.
- Coupling: I / II, III / I, III / II, I / P, II / P, III / P
Choir organ
Old ideas about a choir organ were taken up again when a donation from the USA was received in the 1970s. Because an eastward placement was ruled out for monument preservation and thermal reasons, only the form of the "swallow's nest" remained, which was often used earlier; so z. B. in Chartres , Strasbourg and Ulm . In addition to the western organ, the choir organ was supposed to be the “small” work, but it should be equipped in such a way that it can meet all the requirements of two-manual literature. With this objective in mind, the instrument was given a total of twenty-three stops on two manuals and a pedal.
The entire framework (including the gallery) is made of ash ; all surfaces are glazed spruce . The grid fields are made of several types of wood in differently milled and stained bars. The choir organ was built in 1975/76 by the Giengen organ manufacturer Gebr. Link . The disposition , scales and brochure design come from KMD Prof. Helmut Bornefeld (Heidenheim). She has the following disposition:
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- Coupling: 4 normal coupling (I / II, II / I, I / P, II / P)
- Playing aids : 4 free combinations, 2 free pedal combinations, 10 group pulls for different pleno and color levels, tongue rest, 2 swell steps for the substation and main plant with additional control options for the registrant
Sacramental devices
The oldest communion chalice dates from 1488. This date is carved into the six-pass foot of the rather simple chalice, which consists of gilded silver and copper and was reworked in the second half of the 16th century. Also noteworthy is the so-called "Widerholtkelch" by Hans Merzenbach made of gold-plated silver, which was created in 1630 and donated by Conradt Widerholt and his wife. The engraved inscription, on which both coats of arms are reproduced, refers to the foundation. An engraved paten belongs to this chalice .
The ornamental gold-plated silver communion jugs from 1667 and 1669 by Jeremias Peffenhäuser, each of which shows a cast communion relief, are also special. A lamb is depicted on the lid; The Schorndorf town coat of arms is engraved in the lid.
The Lord's Supper cans from 1723 and 1732 (Philipp Stenglin), which show an engraved scene of the Lord's Supper or a depiction of the crucifixion of Jesus, are striking. On the communion jug from 1740 (Johann III midnight), which was made by Barbara Künkelin, the mayor's widow , who was important for the history of the town of Schorndorf . Agricola, the crucified Christ is engraved with Mary Magdalene .
The baptismal device (Jeremias Peffenhäuser) dates from 1665 and is a foundation of the Duchess Antonia. The baptismal font bears the Hebrew inscription Kadosch, Kadosch, Kadosch ("Heilig, Heilig, Heilig" - cf. Isaiah 6: 3 LUT ) and has an anchor engraved between palm branches, which is surrounded by the letters A - V - W (probably the Monogram of the founder). The Hebrew letter J on the anchor means either Yahweh or Jesus. The baptismal pot is decorated with a cast representation of the baptism of Jesus and a lamb on the lid.
Finally, the ornamental gold-plated silver host boxes from 1630 and 1652 are worth mentioning. One is designed in a six-pass shape and has a lamb on the lid; the other indicates the name of its donor through the engraving on the hexagonal sides.
swell
- Rolf Ulmer, Hannelore Hinderer: Church guide town church Schorndorf. Evangelical rectory town church. 1st edition 1995.
- Steffen Kaupp, Reinhold Zeyher, Hannelore Hinderer: The city church - jewel in the heart of Schorndorf. A companion through the Evangelical City Church and its history ; Ed. Protestant Parish West of the City Church; Schorndorf 2007
literature
- Hans-Otto Etzold (Ed.): 500 years Schorndorf town church. Schorndorf 1977.
- Eugen Nestle: The stonemasons of the Schorndorfer town church. Schorndorf 1977.
- Guntram Palm: History of the City of Schorndorf. Tübingen 1959.
- MJG Roesch: Schorndorf and its surroundings together with a statistical overview of the Kingdom of Württemberg. Stuttgart 1815.
- Immanuel Carl Rösler : Schorndorf town church. For the 450th anniversary of the church. Schorndorf 1927.
- Immanuel Carl Rösler: On the history of the reconstruction of the town church Schorndorf. Schorndorf 1960.
- Immanuel Carl Rösler: The Schorndorfer City Church and its works of art. In: Remstal No. 16, December 1965.
- Adolf Schahl: Schorndorf, Evang. City Church. In: Landesdenkmalamt Baden-Württemberg (ed.): The art monuments in Baden-Württemberg, Rems-Murr-Kreis II. Munich / Berlin 1983.
- Adolf Schahl: City Church Schorndorf. Munich / Zurich 1977.
- Helmut Völkl : Organs in Württemberg. Neuhausen-Stuttgart 1986.
- Konrad Weitbrecht: History of the town church in Schorndorf. Schorndorf 1903.
- History of the city of Schorndorf. Konrad Theiss Verlag, Stuttgart 2002, ISBN 3-8062-1598-7 .
- Ellen Pietrus: Heinrich Dolmetsch. The church restorations by the Württemberg builder ; Dissertation at the University of Hanover 2003, published by the regional council of Stuttgart, State Office for Monument Preservation in: Research and reports on building and monument preservation in Baden-Württemberg, Volume 13; Stuttgart 2008, pages 301-309
Web links
- City parish website
- Evangelical town church on the historical tour of the town of Schorndorf (PDF)
- Church building association Stadtkirche Schorndorf
- Youtube-Video: Bells of the town church Schorndorf
Individual evidence
- ↑ a b History of the city of Schorndorf. Subchapter Buildings, p. 273. Written by Thomas Vogel.
- ^ History of the city of Schorndorf. Subchapter Buildings, p. 272. Written by Thomas Vogel.
- ↑ Information about the restoration of the organ and the disposition on the website of the organ building workshop, accessed August 29, 2019
- ^ Descriptions of the organ can be found in Musik und Kirche , Heft 6/1976, p. 314, Schwab / Lübke, Bornefeld-Orgeln, p. 58 and Völkl, Orgeln in Württemberg, p. 261.
- ↑ Choir organ , accessed on August 31, 2019.
Coordinates: 48 ° 48 ′ 18 ″ N , 9 ° 31 ′ 33 ″ E